Customer Reviews

Shri Camel

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Simply put, this is one for my top ten "desert island" collection. I've had this for about 20 years, first on vinyl and then CD, and have never tired of hearing it. Quite frankly, when I listen to this album I feel the presence of God, no matter how despairing I might otherwise feel. This is due in part to the use of just intonation--the beating of certain intervals on the organ recall the sound of water ripples, or something, and when the dissonances resolve into "true" harmonies it's somewhere between soothing and ecstatic, or both. However the liner notes indicate that Riley performed each of these pieces in real time using an organ and a system of digital delays, which is simply unbelievable given the stunning complexity of the result. I believe it is one of the most spiritually inspired performances ever put to record, clearly reflective of his studies in raga. This CD puts the alleged meditational intent of conventional "New Age" music to shame--this is the real deal, a true "Masterwork" as the previous reviewer stated, and the best work by Riley I've heard. In short, buy this CD.

As suggested this work has a very spiritual feel to it.

If I am correct Mr. Riley plays two Yamaha organs (specially modified by Yamaha for him) using digital delays.

The music is sort of an extension of Rainbow on Curved Air except far more complex and developed. It's very easy to listen to and enjoy despite it's complexity and sophistication. The polyphony and timbre are well integrated with the tunings. The organs are well suited to Mr. Riley's ideas. Some of the instruments on his later works seem less well suited to my ears.

I believe it's one of Riley's best works if not the best. I'd also recommend the Ten voices of the Two Prophets (two Prophet 5 synths have 10 voices - get it?) which is similar.

I've listened to a fair amount of this kind of music that involves alternative tunings, Le Monte Young, Wendy Carlos, Ivor Darreg and I'd say this is one of the most listenable pieces yet it's retained it's deepness over the years. It's certainly one of my desert island disks. Essential.

Terry Riley here continues on his organ + delay explorations which first are heard on "A Rainbow in Curved Air", but adds the extra dimension of just intonation to the fray, to excellent results. The somewhat 'out of tune' sound might take a moment for some listeners to get used to, but once you're acclimatized, these minimal improvisational-based works are very rewarding and satisfying listening. Riley's training with Pandit Pran Nath is here strongly in evidence, as well, as raga-based structures play a strong shaping role in these shorter works. An exotic, wonderful work that never fails to satisfy, even on numerous repeated listenings as one slowly uncovers little details that might've escaped notice previously. Highly recommended, plus (as the topic line says) it's perhaps one of the best introduction to 'non-traditionally' tuned music one can get.

I heard this first when it was released on LP a long time ago. When it was released on CD, I snatched it up and I've adored it for years.

The use of the synthesizer and tape delay create layers upon layers of microtonal beauty. Whenever I want to just sit back and think, but not necessarily listen to pure "classical" music, this crossover disk is one of my most frequent picks.

Aside from the timbres and sounds from every direction, the key to this is that its microtonality never produces any jarring dissonances, but rather a richness that would be hard to replicate.

Enjoy.

While most reviewers tend to write in hyperbole about anything they buy and review...I have to agree with just about all the reviews here. Just listen to the preview samples.

This is probably the best example of minimalism meets just-intonation you'll ever find. AND It's probably the one album that seems most characteristically "Riley" of his entire ouevre-In C is essential, Requiem for Adam/Salome are both superb, and Atlantis Nath is probably the most varied offering.

Shri Camel is a good start to what Riley's work sounds like: all the issues (the role of improvisation in the process of performance, the concreteness of the musical experience, and the inevitable what is music?) in his work and all the influences (raga, minimalism, Baroque chamber music, and even ragtime and bop) are all perfectly manifested here. While it might be a fun academic exercise to try to determine his best work, or at least his most influential (that would have to be In C) they're all mostly very very good.

When I want to hear Riley on the keyboard, or Riley in general, I usually skip Rainbow and Persian Surgery Dervishes and go straight to this one. That's not to say those are inferior works in my estimation...they are both spectacular--the live dubbing of Dervishes is part of its charm...but its just a matter of what appeals to you. One reviewer said they felt the presence of God in it, another called it sublime...I can't really elaborate but only to agree. I always imagine an endless network of neurons firing off inside the human brain--a process both mechanical and organic at once, reflecting both the 'magic' of consciousness and a deterministic fatalism.

If thats New Age, well so be it.

It's intricate, full of dense texture but at the same time its banal and simple, abstract and concrete, so many things at once--and ultimately just a guy noodling around prodigiously on 2 modified synthesizers. The spiritual quality alluded to in another review is no doubt reinforced by the Bach-on-pipe organ meets raga meets trance sound and structure of it. It can accommodate really attentive, focused listening but it is just as compelling as ambient sound or a hypnotic drone you can almost physically feel inside your head. Shri Camel uncannily adapts to your level of consciousness of it, if that makes any sense at all.

Persian Surgery Dervishes follows in the exact same trance-like vein and is also wonderful...it is longer and more 'cosmic' in its pace: meaning a listener who might get frustrated with 45 minutes of what may sound like much the same here might not want to go for that big a helping. I do encourage anybody interested in this to go and p/u that one too. Persian Surgery Dervishes is sort of an extended exploration of the same sonic territory.

Rainbow is great as well, although I like Poppy Nogood even more. Its more sonically diverse (rainbow is more frenetic) and probably a good initial step into the Riley organ stuff. It was the first Riley I purchased after In C and it only whet my appetite for more.

Some reviews are too technical and lengthy. This performance by Terry Riley is sublime - an India influenced electronic tour-de-force - anything is possible when you are listening to this. One of the top three in my collection.

This album escapes description and definition. What to say of it? It's the sort of thing that destroys any attempt in understanding it. It strikes me as a mandala/yantra of sound. There seems to be an infinite spiraling-out and an infinite returning-in to an unmoving center. It's exotic but in the most cool and detached way imaginable. It's inspiring and hypnotic, but effortlessly done. Imagine walking outside in some mountainous region, in Winter with snow, and light cool rain falling into small ponds - and that, at that moment, your capacity for hearing suddenly opens its closed doors - in pours the pitter-patter of rain, the droplets diving into the water, the crisp crunch of snow under your feet rhythmically plodding around, the freshness and airiness of the cold wind shimmering through your body... that is the sound of SHRI CAMEL!

This music is very good. Listen to this album many many times. Hopefully you can find something new everytime you hear this album. Also, listen to Persian Surgery Dervishes. Listen to all of Mr. Riley's organ works - there is a wealth of content in this music. Deep listening, as Pauline Oliveros suggests - that is, listening to the music very closely and in every way possible, is the best way to hear this material.

Go get'em!

If you liked _A Rainbow in Curved Air_, you'll enjoy this album; this time around, it's just the keyboard, and you'll get to stretch your ears around the just intonation and the influences of Indian music if you've not heard them before--but it's well worth the time. (Speaking of alternatives to equal temperament, who else would like to see Riley collaborate with Wendy Carlos? Raise your hand... :-)

Bypass the embarrassingly gushy, hyperbolic liner notes and just listen...and if, as I expect, you enjoy it, check out Riley's _The Harp of New Albion_ as well!

The amazing godfather of minimalism at his very best.